‘Drawing’ on Photographs

Draw with Glue on My Photographs

I continue to experiment this process on my other photographs. Most glued photographs are selected from my photography work between 2015 and 2019. I portrayed my many closed friend in different cities. Their faces and emotion catch my eye when I pour the glue on the surface. Every detail on these can remind me of past memory with them. The gluing process drives me to part of their body and the object appeared in the photo. Obscured Imagery become memory here. That is the ‘reality’ memory in my work.

How Gerhard Richter Overpaints and Obscures in His Work

I understand the ‘reality’ in Richter’s work as some qualities of object since Richter talks about ‘touch’ and ‘presence’. At the same, it is the my recent critical research – the relationship between object making and image making.

Richter narrates the increasing flow of visitors with different paint colors, obscuring areas with the squeegees he uses for his distinctive smeared abstractions. His works retain their status as printed photographs, yet they are complicated by the application of paint, which merges photographic reproduction with abstract materiality. I think Richter creates the ‘reality’ through his overpainted photographs.

Now there’s painting on one side and photography—that is, the picture as such—on the other. Photography has almost no reality; it is almost 100 percent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture. . . . I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it’s really good—better than anything I could ever say on the subject.

Gerhard Richter

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